Trans-Love Energies is the first new material from Death In Vegas after a seven year absence. linky
Trans-Love Energies is the first new material from Death In Vegas after a seven year absence. linky
I posted a video (Max Cooper) in the mnml thread the other day; I've listened to that song more than 30 times today; and I seriously just woke up and got out of bed to listen to the EP again. I need help.
hey so I just stumbled across this. it's like 4 years old but really fun to read anyway.
Ask a music scene micro celebrity
Apologies if it's been posted before.
Ha!Do you think bands that are severely derivative, like most garage rock bands, are inferior to bands like Jesus Lizard who sound totally unique?
Yes. In other news, I think Ice is cold, fire is hot and the sun will probably come up tomorrow.
So good.I've used this analogy before, but I like it, so I'll use it again: While the recording is underway, I'm like a gynecologist, and it would be inappropriate for me to be getting turned-on by the vagina I'm working on at the moment. I need to have a different relationship with the vagina.
gy!be tidbitsThe Godspeed! sessions were done in two chunks, totalling about three weeks, and were taxing, but inspiring in a couple of weird ways.
The collective aspect of the band is something I'm familiar with and comfortable with, so that wasn't a problem, other than occasionally having to get everybody together and discuss different options at a little more length than usual. It intruded more when trying to decide where the smokers were going to smoke than any recording consideration.
Anybody who has been in even a three-piece band knows how difficult it can be to keep the peace, and I was impressed at the lengths these guys went to to make sure everyone in the band was heard.
The formal elements of the band and the music have their own inherent problems. The band had nine members: two drummers, three electric guitarists, two bassists, a 'cello, violin, various mallet percussion instruments, a music box and a penny whistle. Their music often has crescendos that begin very quiet (ppp) and are eventually hard rock loud (ffff). This mix of loud and quiet sounds, acoustic and electric instruments and a lot of people makes even the physical setup in the studio difficult. We had to try several arrangements of chairs and rooms, often moving everything involved in the session before everyone was comfortable.
The next problem was recording both the very quiet and very loud sounds accurately. Ordinarily, small adjustments can be made in mixing to compensate for louder and quieter parts, but this was an extreme case, with an active dynamic range of better than 28dB. The conventional or hack approach to a problem of wide dynamic range is to use compressors to restrict the top-end of the dynamic range, but I have never liked the artificial sound quality imparted by this method.
The "clamping" action of the compressor is noticeable, and it sacrifices detail at the highest point of the dynamic, when the music is reaching its biggest moments. This would be a particularly inappropriate choice for a band like Godspeed! Still, I needed to be able to ride the gain on as many as a dozen microphones in a smooth, repeatable fashion, so I used the channel grouping feature of our console to create sub-masters for each of the instruments, and I rode the gain on the individual instruments, keeping them at a reasonable level throughout the course of songs as long as ten minutes.
Several of the pieces were meant to flow seamlessly from one to the next, but could not be performed this way because of instrument changes or other reasons, so I needed to be able to knit together several chunks recorded separately while maintaining the illusion that they were performed at once. In most cases there was a transitional moment, where piece "A" ended and piece "B" started, so these transitional moments were scripted into each piece, so there would be a range of editing options. In once case, there was a gradual guitar crescendo, so the edit needed to observe that dynamic and avoid creating a jarring change. This part of the session organization took more thought and preparation than I was expecting, but eventually it all worked out.
There were some additional musicians recorded for a couple of parts, in particular a string section comprising several double-basses, but the original session was still set-up and couldn't be disturbed, so during this period the band were occupying both studios.
As the session progressed, individual players needed to add overdubs, and we would concentrate on one person until finished, and then move on to the next player. This part of the session involved some very long days for me, and it seemed like the band were eating and sleeping in shifts while I worked every minute.
Eventually, the record was finished and mixed, and the band went on their way. I wasn't party to the discussions after they left, but with such a complex project, it isn't surprising that there were things the band were dissatisfied with over time, and they decided to mix the album themselves (there was some additional recording done as well) at the studio they normally used in Montreal, with an engineer (Howard Bilerman) who is a friend and an important part of their extended family. That they were eventually happy enough to release the record is good enough for me.
Any other complications involved boiled down to me not speaking French very well, the US border crossings being a bastard, and Canadians being weird in general.
*based upon tedious fact checking.
I'm not really sure where I should post this, so I figured the default thread was generally the right place.
I'm looking for a specific 7". It's a split between Kill Life and 33, Kill Life being made up of members of Integrity and Fucked Up. If anybody has this, and can put it in the group or something, it would be greatly appreciated and I would greatly return the favor.
Edit: Cheaper one - http://allthewayaliverecs.bigcartel....ife-33-split-7
If you want to buy it?
Last edited by Sleepingrock; 07-26-2011 at 01:32 PM.
Ah. Fair enough, it isn't on ? so I don't know where to look (but someone made a request, did you?)
Good idea. I've been meaning to upload some stuff on there, although I don't think many will receive any hits.
Very true! Eventually it will make its way to someone, hopefully.
Are we ever going to be able to embed soundcloud players on this forum?
That Joanna Newsom rmx is fucking blasphemy. Yuck.
8/7/16 - Sufjan Stevens @ Hollywood Bowl // 8/8/16 - Radiohead @ Shrine // 8/8/16 - Boris @ Regent
9/14/16 - Wilco @ Theatre at Ace Hotel // 9/18/16 - Kraftwerk @ Hollywood Bowl
I love this song.
I don't think I ever really understood what people meant in music when they used the term "space" or a band having a "sense of space" until I really listened intently to Talk Talk's Laughing Stock.
Yeahhhh that The For Carnation album is so good. I only listened to it that one time.
http://soundcloud.com/modeselektor/m...shipwreck-withWe don’t usually like to post snippet tracks here at URB. If we want to hear just part of a song, we’ll go listen to a DJ. But let’s be honest, Radiohead’s Thom Yorke appear on two new songs by Berlin broken techno duo Modeselektor’s new album is kinda a big deal. And if you don’t get it here, you’re just gonna score your snippets on the street.
Both tunes will be released as a single on Sept 30, and will also appear on Modeselektor’s new album, Monkeytown, which drops on September 30. Other guests on the album include Anti Pop Consortium, Miss Platinum and Otto von Schiarich.
Yorke also appeared on the group’s 2007 album, Happy Birthday, on the song “The White Flash.”
being able to embed Soundcloud players would be awesome....
Coachella 07 (the introduction), 08 (the bands), 09 (the documentary), 10 (the people i came with), 11 (the relationship test... we passed), 12 (whatever the weather, Dirty Epic forever), 13 (the year of the troll)
- PEARL JAM WHY YOU HATE COACHELLA? -
Ticketmaster & Walmart team up, join the four horsemen of the apocalypse
It's 2011, people, and we True Americans are stuck in a spiteful danse macabre with useless graduate degrees, debt ceiling hysteria, screaming Casey Anthony news coverage, gold standards, Ichelle-May Achmann-Bay (don't say her name three times after midnight, and DEFINITELY not in a darkened bathroom with your mom's Vanilla Escape candles burning eerily) and _________ (noun describing any shitty aspect of your life/society.) People are losing homes! People are losing dignity! People are losing the AMERICAN DREAM!!
Until this week, that is. See, True American Brands™ Ticketmaster and Walmart are teaming up to bring over-sized cat sweatshirts, concert tickets, a little bit of old fashioned elbow grease, and low, low, LOW savings to your neighborhood! If there's a more perfect embodiment of the American Dream than the newfound opportunity to purchase guns and discount garden gnomes at the same place you buy your $148 (+$76.85 shipping & handling) Creed tickets at a Ticketmaster™ kiosk inside your friendly, locally-sourced Walmart™, well then SLAP ME UP AND CALL ME A COMMUNIST, BECAUSE I DON'T KNOW WHAT IT IS.
Recently, Ticketmaster CEO Nathan Hubbard traveled back to a time before Ticketmaster.com existed (1998? Can I get Cibo Matto tickets? Thanks.) to explain how this True American Innovation™ gives "fans this very convenient way to learn about upcoming events, purchase and take home tickets without leaving their neighborhood." He also promises (threatens?) that "Ticketmaster will continue to work closely with our clients to create exclusive high value offers for Walmart customers." Discount Scott Stapp lawn gnomes, anyone?
HOLY SHIT I'm listening to Dinosaur Jr's You're Living All Over Me for the first time right now. I knew they were a great band, but holy shit. Tarpit and Sludgefeast are fucking amazing.